{"id":5790,"date":"2023-01-25T20:34:21","date_gmt":"2023-01-26T01:34:21","guid":{"rendered":"https:\/\/www.bu.edu\/sequitur\/?p=5790"},"modified":"2023-04-21T11:08:41","modified_gmt":"2023-04-21T15:08:41","slug":"reconsidering-performance-art-history-tradition-and-contemporaneity-at-chale-wote-in-ga-mashie-accra","status":"publish","type":"post","link":"https:\/\/www.bu.edu\/sequitur\/2023\/01\/25\/reconsidering-performance-art-history-tradition-and-contemporaneity-at-chale-wote-in-ga-mashie-accra\/","title":{"rendered":"Reconsidering Performance Art: History, Tradition, and Contemporaneity at Chale Wote in Ga Mashie, Accra"},"content":{"rendered":"<h4><span style=\"color: #000000;\">by Colleen Foran<\/span><\/h4>\n<figure id=\"attachment5806\" aria-describedby=\"caption-attachment5806\" style=\"width: 778px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2023\/01\/9-1-Forran1-768x1024.jpg\" alt=\"\" width=\"768\" height=\"1024\" class=\"size-large wp-image-5806\" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran1-768x1024.jpg 768w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran1-477x636.jpg 477w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran1-1152x1536.jpg 1152w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran1-1536x2048.jpg 1536w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran1-scaled.jpg 1920w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/><figcaption id=\"caption-attachment5806\" class=\"wp-caption-text\"><\/span> <span style=\"color: #000000;\">Figure 1. Interior view, Ussher Fort. Accra, Ghana. Photograph by the author, 2022.<\/span><\/figcaption><\/figure>\n<p><span style=\"color: #000000;\">\u201cThat area looks ancient,\u201d a cabdriver responded to my stated destination in Ga Mashie. While the neighborhood is not actually ancient, I understood the sentiment. Ga Mashie constitutes \u201cOld Accra\u201d and contains the Ghanaian capital\u2019s oldest standing buildings.<sup>1<\/sup> Constructed by European companies as defensive forts for trade goods, these structures date from the seventeenth century.<sup>2<\/sup> The outposts later became hubs of the transatlantic slave trade (fig. 1).<sup>3<\/sup> Prior to European incursion, the area was a village populated by fishermen from the Ga ethnic group. Many of the neighborhood\u2019s current residents trace their lineage and livelihoods back to these inhabitants, even as the profession\u2019s viability has declined due to climate change and industrial overfishing (fig. 2). Shipping and retail outposts that prospered during the colonial period have largely moved to the outer reaches of the Greater Accra Metropolitan Area.<sup>4<\/sup>\u00a0This economic decline has been paralleled by infrastructure decay.<\/span><\/p>\n<figure id=\"attachment5795\" aria-describedby=\"caption-attachment5795\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2023\/01\/9-1-Forran2-1024x768.jpg\" alt=\"\" width=\"1024\" height=\"768\" class=\"size-large wp-image-5795\" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran2-1024x768.jpg 1024w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran2-636x477.jpg 636w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran2-768x576.jpg 768w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran2-1536x1152.jpg 1536w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran2-2048x1536.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment5795\" class=\"wp-caption-text\"><\/span> <span style=\"color: #000000;\">Figure 2. View of the new Chinese-funded Fishing Harbor Complex in the Jamestown Harbor in process. The area\u2019s traditional wooden fishing boats can be seen in the distance. Accra, Ghana. Photograph by the author, 2022.<\/span><\/figcaption><\/figure>\n<p><span style=\"color: #000000;\">Ga Mashie remains a vibrant and culturally rich space. The area echoes with the cheers and jeers of its famed boxing gyms, thumping base from funerals, and dice hitting plastic Ludo boards. Every year, residents perform vital processions like the Yams Festival for Twins and H\u0254m\u0254w\u0254 Festival as markers of ethnic identity and social definition.<sup>5<\/sup> H\u0254m\u0254w\u0254 celebrates the end of a historical famine and is the most important event on the Ga community\u2019s calendar.<sup>6<\/sup>\u00a0The Chale Wote Street Art Festival has become another annual marker for Ga Mashie. Held every August since 2011, the week-long event draws crowds from around Ghana and, increasingly, the world. The festival transfigures the space of Ga Mashie. Vendors and visitors throng John Evans Atta Mills High Street, closed to traffic for Saturday and Sunday (fig. 3).<sup>7<\/sup>\u00a0Artwork is installed in the historic forts (fig. 4) side-by-side with live performances activating the space (figs. 5, 6).<sup>8<\/sup><\/span><\/p>\n<p><span style=\"color: #000000;\"><div class=\"bu-slideshow-container 9.1-colleen-foran\" id=\"bu-slideshow-container-5819\" data-slideshow-name=\"9.1-colleen-foran\" data-slideshow-delay=\"5000\" style=\"width: auto; \"><div class='slideshow-loader active'><div class='loader-animation'><\/div><p>loading slideshow...<\/p><\/div><div class=\"bu-slideshow-slides\"><ul class=\"bu-slideshow transition-slide\" id=\"bu-slideshow-5819\"><li id=\"bu-slideshow-5819_0\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/sequitur\/files\/2023\/01\/9-1-Forran3-768x1024.jpg\" alt=\"\" \/><\/div><\/li><li id=\"bu-slideshow-5819_1\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/sequitur\/files\/2023\/01\/9-1-Forran4-1024x768.jpg\" alt=\"\" \/><\/div><\/li><li id=\"bu-slideshow-5819_2\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/sequitur\/files\/2023\/01\/9-1-Forran5-1024x768.jpg\" alt=\"\" \/><\/div><\/li><li id=\"bu-slideshow-5819_3\" class=\"slide \"><div class=\"bu-slide-container slide-caption-bottom-right\"><img src=\"\/sequitur\/files\/2023\/01\/9-1-Forran6-768x1024.jpg\" alt=\"\" \/><\/div><\/li><\/ul><\/div><div class=\"bu-slideshow-navigation-container\"><ul class=\"bu-slideshow-navigation nav-icon\" id=\"bu-slideshow-nav-5819\" aria-hidden=\"true\"><li><a href=\"#\" id=\"pager-1\" class=\" active\" aria-hidden=\"true\"><span>1<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-2\" class=\"\" aria-hidden=\"true\"><span>2<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-3\" class=\"\" aria-hidden=\"true\"><span>3<\/span><\/a><\/li> <li><a href=\"#\" id=\"pager-4\" class=\"\" aria-hidden=\"true\"><span>4<\/span><\/a><\/li> <\/ul><\/div><div class=\"bu-slideshow-arrows\" id=\"bu-slideshow-5819_arrows\"><a class=\"bu-slideshow-arrow-left\" href=\"#\"><\/a><a class=\"bu-slideshow-arrow-right\" href=\"#\"><\/a><\/div><\/div><\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"color: #000000;\"><strong>Figure 3<\/strong>. Scene from 2022\u2019s Chale Wote Street Art Festival with the Jamestown Lighthouse in the background. John Evans Atta Mills High Street, Accra, Ghana. Photograph by the author, 2022;\u00a0<strong>Figure 4<\/strong>. Scene from 2022\u2019s Chale Wote Street Art Festival with mural by Nii Nortey Hamid (b. Ghana, 1987) in the background. Ussher Fort, Accra, Ghana. Photograph by the author, 2022;\u00a0<strong>Figure 5<\/strong>. Martin Toloku (b. Ghana, 1992). <em>EnU va DZinYE<\/em> (I\u2019m Possessed) (2022). Durational performance. Chale Wote Street Art Festival, Ussher Fort, Accra, Ghana. Photograph by the author, 2022; <strong>Figure 6<\/strong>. Scene from Nana Yaw Ananse\u2019s performance <em>Pour Pure Power Proposal for African Prosperity and Posterity Proposal<\/em> (2022) with clothing vendors in the background. Chale Wote Street Art Festival, Ussher Fort, Accra, Ghana. Photograph by the author, 2022.<\/span><\/p>\n<p><span style=\"color: #000000;\">Chale Wote also brings out many unofficial performers who dress as outlandishly as possible to draw attention and photography fees (fig. 7). Delighted attendees can join in the fun by paying to get their faces painted or by purchasing cheap plastic masks (see fig. 8). Coming across a procession, the spectator must guess if it is art, spectacle, or something in between. Through this productive confusion, Chale Wote challenges standard expectations for performance art.<\/span><\/p>\n<figure id=\"attachment5804\" aria-describedby=\"caption-attachment5804\" style=\"width: 778px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2023\/01\/9-1-Forran7-768x1024.jpg\" alt=\"\" width=\"768\" height=\"1024\" class=\"size-large wp-image-5804\" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran7-768x1024.jpg 768w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran7-477x636.jpg 477w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran7-1152x1536.jpg 1152w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran7-1536x2048.jpg 1536w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran7-scaled.jpg 1920w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/><figcaption id=\"caption-attachment5804\" class=\"wp-caption-text\"><\/span> <span style=\"color: #000000;\">Figure 7. Scene from 2019\u2019s Chale Wote Street Art Festival. John Evans Atta Mills High Street, Accra, Ghana. Photograph by the author, 2019.<\/span><\/figcaption><\/figure>\n<p><span style=\"color: #000000;\">I came across a poignant example of such blurred boundaries at the 2022 festival: a wheeled cart transformed by plywood into a helicopter was decorated with hand-painted slogans like \u201cFear God\u201d and accompanied by children costumed in \u201cPolice F.B.I.\u201d uniforms with fake semi-automatics (fig. 8). For an encouraged fee, onlookers could place their own children inside the helicopter for a photograph opportunity. I was left asking\u2014was this a comment on American imperialism? A way to draw attention, and earn cedis, the Ghanaian currency, in the thronged High Street? Or was it just plain cool, a recreation of violent Hollywood films? I argue that the blurring of lines between critical art, commerce, and popular culture is an essential feature, not a bug, of Chale Wote, one that asks big questions around the purpose of short-term art events, the spaces in which they take place, and the audiences they exist to serve.<\/span><\/p>\n<figure id=\"attachment5805\" aria-describedby=\"caption-attachment5805\" style=\"width: 778px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2023\/01\/9-1-Forran8-768x1024.jpeg\" alt=\"\" width=\"768\" height=\"1024\" class=\"size-large wp-image-5805\" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran8-768x1024.jpeg 768w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran8-477x636.jpeg 477w, https:\/\/www.bu.edu\/sequitur\/files\/2023\/01\/9-1-Forran8.jpeg 1119w\" sizes=\"(max-width: 768px) 100vw, 768px\" \/><figcaption id=\"caption-attachment5805\" class=\"wp-caption-text\"><\/span> <span style=\"color: #000000;\">Figure 8. Scene from 2022\u2019s Chale Wote Street Art Festival. John Evans Atta Mills High Street, Accra, Ghana. Photograph by the author, 2022.<\/span><\/figcaption><\/figure>\n<p><span style=\"color: #000000;\">Because of the centrality of performance art to its program, Chale Wote has been correlated with the myriad contemporary art fairs and biennials that have cropped up since the turn of the twenty-first century. Biennalization both reflects and shapes what contemporaneity under globalization looks like and who it benefits; the audiences for such events are often Western European and American visitors who drop in for singular performances.<sup>9<\/sup>\u00a0And yet, even as it gains international renown, Chale Wote continues to draw a local audience. Organizers have sustained this interest by tying the festival into Ga Mashie\u2019s long-standing ritual processions. Recent program materials have explicitly listed the Yams Festival for Twins and H\u0254m\u0254w\u0254 as event kick-offs.<sup>10<\/sup>\u00a0These religious celebrations are presented as anchors for Chale Wote\u2019s goal of bringing contemporary art into public space.<sup>11<\/sup>\u00a0This year, a Beninese group performed Egungun and Zangbeto masquerades in what promoters described as \u201cthe most versatile public performance[s] of mythical imagination in West Africa.\u201d<sup>12<\/sup><\/span><\/p>\n<p><span style=\"color: #000000;\">Seen within the context of Chale Wote, it becomes difficult to read the above as simply \u201ctraditional\u201d examples of African masquerade.<sup>13<\/sup>\u00a0These processions are an integral part of the festival\u2019s spectacle and its substance, entertaining while also serving a crucial function for community social and spatial self-fashioning within Ga Mashie. This calls into question what we consider contemporary and what we relegate to tradition. European and American art historians have typically discussed performance art as a break with tradition.<sup>14<\/sup> African art history has theorized performance differently\u2014signified, not least, by the fact that African art\u2019s historiography often discusses \u201cperformance\u201d without the appellation of \u201cart.\u201d<sup>15<\/sup>\u00a0Emerging out of the discipline of anthropology and the ethos of area studies, African performance is most often discussed as an expression of static ethnic identity.<sup>16<\/sup><\/span><\/p>\n<p><span style=\"color: #000000;\">By placing cutting-edge artists in spatial conversation with historical ritual processions, Chale Wote underscores that performance art is nothing new in African art.<sup>17<\/sup>\u00a0Performance art is not always a radical break from \u201ctradition\u201d but can also be a continuation of a rich legacy of movement through space to address social issues and contest political realities. This conceptualization explains the festival\u2019s staying power and the role it continues to play in the Ga Mashie community. Yet multiple interviewees have told me that the festival is at a tipping point. Many believe it is at risk of becoming purely a food fair\u2014an excuse to drink beer, do some tchotchke shopping, and dance at evening concerts. As I write from the fall of 2022, Ghana is facing rampant inflation and extreme economic strife.<sup>18<\/sup>\u00a0My research works to understand whether a once-a-year event can do enough to change daily life for Ga Mashie residents. Will its performance art retain the political edge necessary to trouble the status quo? Or might Chale Wote\u2019s critical, cutting-edge art be overwritten by its own spectacle?<\/span><\/p>\n<p><span lang=\"EN\" style=\"color: #000000;\">____________________<\/span><\/p>\n<p><span style=\"color: #000000;\"><b>Colleen Foran<\/b> <span style=\"font-weight: 400;\">is a PhD candidate studying African art at Boston University. Her research focuses on contemporary West African art, particularly on public and participatory art in Ghana\u2019s capital of Accra. Prior to coming to BU, Colleen worked at the Smithsonian National Museum of African Art.<\/span><\/span><\/p>\n<p><span lang=\"EN\" style=\"color: #000000;\">____________________<\/span><\/p>\n<h4><span style=\"color: #000000;\"><strong>Footnotes<\/strong><\/span><\/h4>\n<p><span style=\"color: #000000;\">1. Abibata Shanni Mahama, Ama Twumwaa Acheampong, Oti Boateng Peprah, and Yaw Agyeman Boafo, <em>Preliminary Report for Ga Mashie Urban Design Lab <\/em>(New York: Millennium Cities Initiative, 2011), 2.<\/span><\/p>\n<p><span style=\"color: #000000;\">2.\u00a0D. A. Tetteh and K. Y. Tuafo, <em>James Town, British Accra: A Brief History, Luminaries &amp; Landmarks <\/em>(Accra, Ghana: African Stories Press, 2018), 9\u201311, 17.<\/span><\/p>\n<p><span style=\"color: #000000;\">3. While the forts were originally built to house material goods, the rapid growth of the slave trade meant that the buildings were repurposed to cruelly house human beings kidnapped from their communities to be transported and sold in South and North America and the Caribbean. Today, the only forts still standing in Ga Mashie are James Fort and Ussher Fort, though others are extant throughout Accra and Ghana. While these forts have been declared UNESCO World Heritage sites, their levels of preservation vary. They are often in very bad condition; UNESCO World Heritage Convention, \u201cForts and Castles, Volta, Greater Accra, Central and Western Regions,\u201d accessed November 10, 2022, https:\/\/whc.unesco.org\/en\/list\/34\/.<\/span><\/p>\n<p><span style=\"color: #000000;\">4. The colonial era in Ghana ended in 1957, when it declared its independence from the United Kingdom. However, Ga Mashie\u2019s economic decline is considered to have begun earlier. Many peg this to the 1920s, citing the 1921 construction of new market halls at Central, or Makola, Market and the 1928 opening of a deep-water port at Takoradi (as opposed to Ga Mashie\u2019s \u201csurf port,\u201d which was more challenging to navigate for large vessels). Nonetheless, even if many wholesalers had left Ga Mashie by independence, the upscale department stores for which the area was known largely remained operational until moving to the suburbs in the 1950s and \u201960s; Iain Jackson, <em>Sharing Stories from Jamestown: The Creation of Mercantile Accra <\/em>(Liverpool, UK: Liverpool School of Architecture, 2019), 68, 91, 93; Nate Plageman, \u201cColonial Ambition, Common Sense Thinking, and the Making of Takoradi Harbor, Gold Coast,\u201d <em>History in Africa<\/em> 40 (2013): 332\u201333.<\/span><\/p>\n<p><span style=\"color: #000000;\">5. For more on how processional acts serve as both spatial and political acts of boundary-marking for the Ga people, see John Kwadwo Osei-Tutu, \u201c\u2018Space\u2019, and the Marking of \u2018Space\u2019 in Ga History, Culture, and Politics,\u201d <em>Transactions of the Historical Society of Ghana <\/em>4\/5 (2000\u201301): 55\u201381.<\/span><\/p>\n<p><span style=\"color: #000000;\">6.\u00a0For more detail on how these events are performed and their duration, see Mariam Goshadze, \u201cWhen the Deities Visit for <em>H\u0254m\u0254w\u0254<\/em>: Translating Religion in the Language of the Secular,\u201d <em>Journal of the American Academy of Religion<\/em> 87, no. 1 (March 2019): 191\u2013224, and Marion Kilson, <em>Dancing with the Gods: Essays in Ga Ritual<\/em> (Lanham, MA: University Press of America, 2013).<\/span><\/p>\n<p><span style=\"color: #000000;\">7.\u00a0While the festival lasts for about a week, the action is concentrated on the concluding Saturday and Sunday. The workweek includes panels, talks, and screenings in the lead up, but many of these take place away from Ga Mashie in other parts of Accra.<\/span><\/p>\n<p><span style=\"color: #000000;\">8.\u00a0Some of these are durational feats of artistic endurance, while others are fleeting (respectively, see figs. 5, 6). The latter makes it easy for the visitor to miss some of the performances.<\/span><\/p>\n<p><span style=\"color: #000000;\">9.\u00a0For more on how the growth of biennials can be understood to reflect the conditions of globalization, as well as an optimistic read on their potential to engender resistance to the hegemonic world order, see Caroline Jones, <em>The Global Work of Art: World\u2019s Fairs, Biennials, and the Aesthetics of Experience<\/em> (Chicago, IL: University of Chicago Press, 2017).<\/span><\/p>\n<p><span style=\"color: #000000;\">10. Uplifting Ga culture has been a part of the festival\u2019s fabric from its beginning: An undated proposal and budget given to me by Gabriel Nii Teiko Tagoe, the executive director of the Ga Mashie Development Agency (GAMADA) department within the Accra Metropolitan Assembly (AMA), introduces \u201cThe Kpanlogo Musical Fiesta.\u201d It suggests a festival to draw tourists to Ga Mashie for concerts of the Ga music and dance known as Kpanlogo. According to the document, this will revitalize the fading genre as a means of \u201cbring[ing] back the social cohesion that these communities enjoyed when this music and dance form was alive.\u201d Tagoe told me this proposal was the seed for what would become Chale Wote, although the actual origins of the event are somewhat obscure and many claim credit for its ideation; Gabriel Nii Teiko Tagoe (executive director, GAMADA), in discussion with the author, September 7, 2022, GAMADA offices, Accra, Ghana.<\/span><\/p>\n<p><span style=\"color: #000000;\">11.\u00a0The festival has also crafted new rituals, including the Day of ReMembering, a yearly procession held since 2017 where performers move through the space of Ga Mashie to honor those ancestors forcibly marched to the slave forts along the same streets; Kwame Boafo (performance artist and 2022 organizer, Chale Wote), in discussion with the author, November 10, 2022, Zoom.<\/span><\/p>\n<p><span style=\"color: #000000;\">12. Chale Wote organizers often present the festival as a pan-Africanist endeavor in their online and printed materials, reinforcing the idea that their interest in and respect for historical African performance is not limited to Ghanaian processions; Chale Wote Street Art Festival, \u201cAn exploration of a visual language, for the most versatile public performance of mythical imagination in West Africa; EGUNGUN+ ZANGBETOR,\u201d August 28, 2022, https:\/\/www.facebook.com\/Chalewotefest\/posts\/<\/span><br \/>\n<span style=\"color: #000000;\">pfbid0izRgznjPZvm35U3TPKYfDFmCGYc3MNcTPiSuzv41yzMiaYPzTHj2sQEA8BVspWtMl.<\/span><\/p>\n<p><span style=\"color: #000000;\">13. \u00a0In African art historiography, \u201cmasquerade\u201d is a more encompassing term that describes not only events where participants are wearing a mask or disguising their appearance. It can also include all events that feature a performer moving through space as a means of collective cultural definition.<\/span><\/p>\n<p><span style=\"color: #000000;\">14. The standard Western teleological account of the development of modern and contemporary art presumes a rupture model, with innovation followed by stagnation followed by repudiation that leads to innovation. Typically, the origins of performance art are located with European Dada artists working in the interwar period. The Dadaists\u2019 ideas came to full fruition with American Fluxus artists and theorists and with the Viennese Actionists in the 1960s as they tore down the remaining boundaries between art and life. It is important to note that this \u201crupture\u201d model has come under increasing scrutiny in recent years and has long been critiqued for framing these artistic movements as a mode of radical \u201cavant-garde\u201d politics.<\/span><\/p>\n<p><span style=\"color: #000000;\">15. See, for example, Frances Harding, ed., <em>The Performance Arts in Africa: A Reader<\/em> (London: Routledge, 2002) and Ruth M. Stone, \u201cPerformance in Contemporary African Arts: A Prologue,\u201d <em>Journal of Folklore Research<\/em> 25, no. 1\/2 (1988): 3\u201315.<\/span><\/p>\n<p><span style=\"color: #000000;\">16. Beyond the limitations placed on our understanding of African performance art, this framework also ignores the over-a-century-long interaction between classical African and modern art from Europe and the United States, as well as the robust interchange between continents that occurred for centuries outside the colonial history within which \u201ccontact\u201d is commonly couched.<\/span><\/p>\n<p><span style=\"color: #000000;\">17. As scholars Salah Hassan and Olu Oguibe have argued, \u201cif any creative or critical strategy establishes a firm link between contemporary and classical African art, that strategy is conceptualism,\u201d Salah Hassan and Olu Oguibe, \u201cAuthentic\/Ex-centric: Conceptualism in Contemporary African Art,\u201d <em>Authentic\/Ex-centric: Conceptualism in Contemporary African Art<\/em> (Ithaca, NY: Forum for African Arts, 2001), 10\u201323.<\/span><\/p>\n<p><span style=\"color: #000000;\">18. Over the past year, the Ghanaian cedi\u2019s value against the American dollar has depreciated by almost fifty percent and many have begun to call for the current president Nana Akufo-Addo to resign; Thomas Naadi, \u201cGhana Undergoing Worst Economic Crisis &#8211; President,\u201d <em>BBC News, <\/em>October 31, 2022, accessed November 7, 2022, https:\/\/www.bbc.com\/ news\/world\/africa?ns_mchannel=social&amp;ns_source<\/span><br \/>\n<span style=\"color: #000000;\">=twitter&amp;ns_campaign=bbc_live&amp;ns_linkname=635f49cb49d9ef23494b8a44%26<\/span><br \/>\n<span style=\"color: #000000;\">Ghana%20undergoing%20worst%20economic%20crisis%20-%20president%262022-10-31T04%3A31%3A16.035Z&amp;ns_fee=0&amp;pinned_post_locator=<\/span><br \/>\n<span style=\"color: #000000;\">urn:asset:e0f7eb3c-4252-4c86-b119-a6b28691b3d1&amp;pinned_post_asset_<\/span><br \/>\n<span style=\"color: #000000;\">id=635f49cb49d9ef23494b8a44&amp;pinned_post_type=share.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>by Colleen Foran \u201cThat area looks ancient,\u201d a cabdriver responded to my stated destination in Ga Mashie. While the neighborhood is not actually ancient, I understood the sentiment. Ga Mashie constitutes \u201cOld Accra\u201d and contains the Ghanaian capital\u2019s oldest standing buildings.1 Constructed by European companies as defensive forts for trade goods, these structures date from [&hellip;]<\/p>\n","protected":false},"author":17807,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[7],"tags":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/5790"}],"collection":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/users\/17807"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/comments?post=5790"}],"version-history":[{"count":17,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/5790\/revisions"}],"predecessor-version":[{"id":5980,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/5790\/revisions\/5980"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/media?parent=5790"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/categories?post=5790"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/tags?post=5790"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}